There’s a lot to like about this summer soundtrack packed to the left of your luggage.

A slow burn of an album, Broken Politics artfully cuts through a turbulent, noisy world.

'R.I.P.' is both an update on the bass explorations of restless Britain and perhaps a timeless thesaurus of blistered tones and ideas that younger producers will beg, borrow and steal from for years to come.

This is music that’s meticulous and expansive without ever falling into the trap of being boring or self-indulgent.

It’s a lengthy, beautiful work, and undoubtedly a late career high from one of the most important, courageous songwriters in the country.

An odd but beautiful and often remarkable album, Atlanta Millionaires Club has a depth of feeling that is difficult to shake off. Material that evidently emerged from a dark point in her life, this should represent the point Faye Webster steps out into the light.

Loss, regret and shame are wound up in this album’s DNA, but they are balanced out by a generous dose of hope, a solemn promise that someone can go through the darkest of times and come out stronger, steadier and more complete than ever before.

Antonoff, enhances his co-collaborator’s foundations here: take the humming on ‘Sober’ which comes accompanied with subtle, minimal keys – the perfect backdrop to Bartees’ candid songwriting.

With his debut album he firmly establishes himself as one of the leading lights in UK rap (if there were any doubts), and in a year where some of the scene’s heavyweights are also dropping albums, it won’t be a surprise if AJ’s project is rated as among the best of them by the end of 2019.

‘You Are The Morning’ slides neatly into a certain lineage, while also more than holding its own. Across its 13-track span the record asserts itself with a beautifully framed sense of character, graceful in its approach and empathetic in its revelation.

It’s not a full-bore masterwork: the first half of the record packs a stronger punch than the latter. But it’s a more cohesive, complete listen as a result of tighter sequencing. The Ungodly Hour is a soothing salve for a world on fire.

As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.

‘Honey’ pivots between lyrical complexity and spartan, but endlessly pretty arrangements.

All of these stylistic inspirations make AM an invigorating experience.

With a mix of frantic and scrappy pop songs alongside blankets of processed peacefulness Contra is a fun and always intriguing listen.

The swagger comes in the form of knowing your strengths and for Stern, she's put all of them on display with Marnie Stern.

Sometimes uniformity is no bad thing at all--when you get the formula right, that is--and Guy and Howard Lawrence prove just that on their debut LP.

As a document of four years of on-off collaboration it is fascinating, and for fans of either artist it's pretty much essential.

Bonito Generation is likely to be the most fun album you’ll hear all year. The production is disarmingly joyous and, thanks to a predilection for early ‘90s dance, some of the tracks here are absolute bangers.

Jardin is also no departure from Garzón-Montano’s first release, 2014’s EP ‘Bishouné: Alma del Huila’, but rather a continuation of theme and sound. Perhaps it is his self-imposed musical exile which has created a sound that some listeners may find repetitive whilst others meaningful in its persistence.

Maybe the product of a transitional period in Rowsell’s life, it’s easy to get lost yourself in the singer’s endearing lyricism.

Open Here is a defiant and impassioned statement in which Field Music prove they have mastered the art of addressing the political and the personal simultaneously. It’s fun, it’s loud, it’s dense. It’s not content with wallowing in the state of things and wants to inspire positive change.

A singular experience, You Will Not Die is a theatrical jewel, the sound of a rich, vital talent moving briskly into the limelight. At times reminiscent of Kate Bush in its sense of performance, ANOHNI in its integrity, or even Marvin Gaye in its soulful, sinewy groove, this is an album to be cherished.

While Live at the Troxy does a good job of trying to capture and recontextualise the Fever Ray live experience, it doesn’t quite pull it off. This is down to trying to capture a 3D, 360 degree experience in mere audio: you get an idea of how good the gig was, but it doesn’t quite do it justice without visuals. However, Dreijer and her vocals – their clarity, and her charisma – are still the stars of the show.

Turn to Clear View, takes everything that made ‘Starting Today’ playful and fun while ramping up the captivating melodies, and guest spots, to create something that feels like an instant classic.

This is a playful project, not afraid to dabble with creativity but also showcasing both Denzel’s lyrical ability and Kenny’s creative dexterity, both artists’ visions. It’s as if they created a glitch in the hip-hop matrix, and one that would be welcome again soon.

Nova Twins’ sound remains 100% homegrown British beefiness. There are many people out there from across the rap-rock spectrum who will despise this album (for reasons both fair and foul), but there are many more who will appreciate the lack of compromise in this rollicking call to arms.

The diverse range of music on offer is second to none, but in certain ways acts as an Achilles heel of the record, the competing genres feel cluttered, never quite firmly settling on a succinct sound. That said, this body of work is strictly feel-good and reinforces the promise behind Duckwrth’s major label debut.

The album really feels like it was years in the making. Somehow the neo-soul-leaning cuts (‘Anywhere’) complement the heavier-set tracks (‘Pusher Man: BWI’) with genius levels of curation.

‘GOLD’ is an album that offers a homely atmosphere whilst questioning the interior of that home. It is wise in its approach – urging the need to face internal dilemmas that have been ignored for far too long.

‘Truth Decay’ is a mixtape You Me At Six have lovingly burned and placed into our open palms. It’s got tracks you’ll love, some you won’t, but there’s an undeniable charm throughout.

‘On Purpose, With Purpose’ shows an artist who continues to be authentic, whilst also realising that at this stage of his career he needs to adapt his style in order to achieve greatness.

Catchier, more stirring than ever, Inhaler have done it again. Only this time they achieve with a new-found trust in their guts, it makes this work stronger. A magnificent move forward.

‘Easier Said Than Done’ hears them at their most refined. There is a refreshing honesty told in the lives personified across the album and, in the world of each song, no story is off-limits.

‘The BPM’ is Sudan Archives’ bravest album to date. Lyrically, she effortlessly sings about love, loss, redemption, mental health issues and, err, 1980s computer games. It’s refreshing to hear someone this comfortable in their own skin unburden themselves like this.

Morning Phase is a return to the lovelorn introspection of 2002’s ‘Sea Change’--in style, if not substance.

This is the music of ritual, an electronic folk chimera of primordial pagan beats, ancient and timeless yet psychedelically futurist.

An electrifying introduction to the future of the blues.

Primal, raw and unformed - and ultimately not an album for the faint-hearted - its lyrical content alternates between the absurd and the everyday.

Diviner is a brave album and Thorpe should be commended for it. It challenges what masculinity should be and that you don’t have to shout to get your message across.

In almost every way it is bigger than his debut, there’s urgency to the instrumentals and operatic crescendos, all in the aid of trying to observe the madness.

The band’s dependable grasp of instantly joyous hooks still shows no sign of deserting them, and Britt Daniel’s raspy voice continues to marshal the tight groove at their core.... Only ‘I Just Don’t Understand’ hits a truly bum note, sounding eerily like Beady Eye.

Bold, uncompromising and totally EE, A Fever Dream further cements the idea that the Manchester outfit will one day be considered as one of art-pop’s true greats.

It’s certainly frustrating at first, especially if you’re expecting another dubstep masterpiece. But it grows on you given openness and attention – the kind of attention that Burial has earned through years of consistent brilliance. Love it or hate it, ‘Antidawn’ is one of the most unique releases you’re likely to hear in 2022.

The group’s third album in three years, they never once let standards slip. All in all, the aptly titled ‘Glorious Game’ is a punchy LP with considerable replay value.

Overall, this is peak John Carroll Kirby and, dare I say, his strongest album to date. It hits all the points you want, and then some.

Meshing 80s pop revival, conscious club classics that could slide into her diverse DJ sets, moodier and more alternative, experimental sonic paths, Avalon Emerson is embracing more of what she loves, more of the unknown and the joys of collaboration in the & the Charm project with ‘Written into Changes’.

Instinctual, acerbic and erudite, ‘UK GRIM’ is stark and enthralling all in one.

Hecker’s music alerts us to a kind of universalism grounded in the painfully specific. To be ambient in feeling, to be ambient in song, to be ambient in devotion--this is Hecker’s project.

‘Amelia’ is this a towering work of artistic endeavour and creative genius which comfortably ranks as one of Anderson’s most definitive statements yet.

It’s a magnificent experience. ... If you’re not a fan, or never heard of them before this is the perfect album to start introduce yourself to them. ... Because: trust me on this, it will hold your attention.

It is a personal, self-referential record, then, but one of the tenets of radio is the shared listening experience it provides, the sense of togetherness. It isn’t too much of a reach to say that listening to this album helps to process and make sense of these times and, especially, of the state of play of pop-adjacent electronic music.

Taken as a whole, this is an utterly brilliant, dependably polished listen, and one that is unquestionably up there with the best moments in this duo’s storied career.

The trademark visceral beats, scathing lyrics and the general feeling of anger and aggression that peppered his previous albums have been replaced with slower beats and irresistible soul hooks. At first this change in tone, and pace, is jarring and you are waiting for it to kick off, but as the album progresses you get into it and dig this new Tyler.

Utilising his own crude, handmade instrumentation to full effect, Punish, Honey sees Vessel firmly digging heels further into his own brutally rewarding corner of noise.

Goon is not perfect, but it's the imperfections and the straight honesty that bleeds through it that make it so appealing.

Disquieting divinity, duly delivered.

Potent in its masculine restraint, this record has surely always existed, just waiting to be plucked from the surf; a mercurial, magisterial, stick of seaside rock.

If you’re after blunted beats and wordplay that reaffirms your belief in rap as urban folk music, then you’re in for a shock. But for anyone looking for a mind-expanding trip to the outer edges of the solar system, these rap futurists are your guides.

A strutting, assured 42 minutes of funky indie-pop indulgence born out of the ashes of a pretty stagnant indie rock band. Proof everyone deserves a second-chance.

It is a very enjoyable, incomparable album, with moments of extraordinary depth.

As the tracks progress along the album, they get better and better, and more experimental too. These are tracks which have been made to be played in arenas with their throwback influences.

‘Every Inch of Earth Pulsates’ is an apt title for an album that doesn’t waste a second in getting your feet moving. By throwing their hat fully in the indie ring and hooking up with Orton, the band has found a clearer identity and produced an all-killer, no-filler statement.

‘Wish Defense’ is probably FACS’ most fun album.

It’s a record stacked with an adeptness of touch from a production standpoint, a modern tapestry that weaves in and out of genres defined by black artists of past.

‘WET TENNIS’ is a refreshing collection of totally danceable pop bangers. It feels more ambitious than Sofi Tukker’s debut, resulting in a totally blissful listening experience; fine-tuned to get under your skin.

Her second album is an enchanting collection of beautifully raw songs, the faint trace of tape-hiss in the quieter moments combined with the rootsy feel of songs.

As unconventional in approach as ever, the set extrapolates from their previous ventures and results in a confident and competent continuation of established qualities.

An enchanting listen, her world-building remains absolutely undimmed on this triumphant, bewitching project.

Garcia allows these songs to ebb and flow without a clear end point in mind, allowing the interplay between her band-members to become this album’s primary draw. She has proven herself to be just as formidable a composer as she is a performer.

The result of two years of head-down studio time, the Brighton-based producer has laced this debut with heart-racing drums that trip over each other and dark-hued synth rollers.

A commanding and sincerely fascinating listen that stands tall in a catalogue already awash with magic.

Meet The Humans is not just his best solo release to date, but also arguably the finest album in which he has been involved full stop. Capable of moving and energising its audience in equal measure, Mason has refined his art to a remarkable extent.

Although not necessarily pushing boundaries lyrically, Octavian’s appeal lies in the whole package rather than a complex narrative. The raspy flows and melodic groans are at home over the ethereal, bass heavy instrumentals, giving each track a consistent vibe that absorbs multiple elements into a gripping end product.

This open-ended offering brilliantly entices you to extrapolate meaning from it, to attach it to a time and space before letting it fully unfurl.

'Superache' is a definitive evolution for Gray. A matured turn since his debut 'Kid Krow', 'Superache' continues to exemplify Gray's flair for pop bops, but with ripened introspection.

Defying categorisation, 'Fire Doesn’t Grow On Trees' feels simultaneously well-situated in Brian Jonestown Massacre’s expansive discography, while continuing their core ethos of subverting the indie scene, always looking in the opposite direction of the mainstream.

In spite of much of ‘CHARLIE’ missing complexity or a distinctive flair, the album remains punchy and bright and what Puth lacks in poetry, he makes up for with glimpses of pure pop excellence.

Although vibrant and adventurous, the end result is too overcrowded on ‘Silver’ – some trimming, and there’s a classic here.

What ‘Kehlani’s’ self-titled moment lacks in risk or originality, it makes up for in songs that explore the fullness of female/non-binary sexuality.

McCartney produces his most real, immersive, and innovative work, and roles a mellotron in for good measure.

Strike A Match feels like it is racing against itself, a gentle, playful intensity that feels wholly inviting.

Sleaford Mods have managed to express perfectly and effortlessly, what it feels like to live in 21st century Britain and from here, they can only get bigger.

Their astutely crafted synth-pop cements their place as Pet Shop Boys’ spiritual successors.

Ever the showman, Darcy and company have engineered a refreshing return which though softer around the edges than previous Ought releases, is no less gratifying.

His are fragile, beautiful songs floating over warmly alien, sometimes seemingly formless musical structures yet it's an effect borne through unconventional levels of space and patience.

It's clearer now than ever that Earl Sweatshirt doesn't care for your expectations, and that he's at his brilliant best when refusing to cater to them.

As it stands FM! is little more than a placeholder--an interesting but self-indulgent sketch from an artist who could be creating masterpieces.

A great album and a fascinating document undoubtedly, but there’s no need to spend your hard earned on a boxset when the original does everything you need already.

When Knapp and Pederson get it right, which they mostly do, especially on the first three tracks, it’s a joy to listen to. However, when it doesn’t quite work it can be a bit of a slog. Saying that when it does all come together ‘Fault Lines’ is exceptional and shows that Knapp and Pederson still have plenty to say.

Amyl and Sniffers have released the album of the year. .... The record speaks as a journey of a woman finding her own worth whether that be in life, relationships or career, and it’s here to inspire you to do the same.

What follows isn’t a retreat, however, but more of a re-entrenchment, a record that tackles aging, loss, and reconciliation. It's not without surprises.

‘the apple tree under the sea’ isn’t just going to be one of the year’s best debuts, but one of the year’s best records, full stop.

Shadows returns to the lush, meticulously crafted sound of previous albums.

Vivid, colourful, and distinct, 21st century ennui has scarcely sounded so intoxicating.

A celebration of what makes Teenage Fanclub great, it’s a finely balanced LP of under-stated charms. ‘Nothing Lasts Forever’ they say – except, perhaps, for Teenage Fanclub.

All ten tracks, and their accompanying dub allies, have the presence and sound to claim dancehalls by the fistful.

Often moving, and never dull, ‘Secret Measure’ is a softly thrilling return, assured in its place in the world.